In the rare book collection section on the fourth floor of Capen sits Michael Basinski, the rare book curator and local poet who has redefined the status quo of contemporary poetry.
By fusing visual art and poetry, a genre called Concrete poetry, Basinski creates visually stimulating poems. Poets in this genre, which began in the 1960s, initially used topography and a mimeo machine to create images. They did not have computers or graphic design, so a photocopier was also used to distort images and create poems.
Basinski pays homage to Concrete poets like D.A. Levy and Ronald Johnson by expressing his poetry unconventionally through images and words.
"There is a tradition that he is harking towards. There is a whole lineage of collage work," said poetry Professor Myung Kim.
According to Basinski, this collage of words and images does not set limits for a reader.
"The reader can enter the piece at no particular place. It is an unlimited field for the reader," he said.
Basinski has been creating visual poetry for about 10 years. He said he first discovered the use of image when a friend told him his penmanship looked artistic. This discovery began his fascination of image and language as one. However, he does not consider his work an art like painting or drawing, but a literary art form: poetry.
"I don't want to impose on the art world. This is poetry. You deserve to have your own poetry," said Basinski.
A main focus of Basinski's work is to engage the reader in the text. According to Basinski, audiences do not retain conventional poems. A poem is given, and then quickly forgotten. Visual poetry forces the reader to examine what is being presented and the images will draw out the meaning.
"[Images] don't interfere with the purpose because it makes someone read differently," Basinski said. "If you come across an image you have to engage the piece. It forces you to take part in what meaning is. You have to participate."
Basinski engages the senses of sight, hearing and even smell. In his publication, Perfumeoems, a very small mini-pamphlet, he asks the audience to take off their shoes, drink vinegar and discuss poetry. One may not see any concrete meaning behind this because the meaning is left for the audience to decide.
"I don't want to impose meaning. I want the creation of meaning to be playful and accessible," said Basinski.
When senior English major Susan Choi was introduced to Basinski's work, she felt the visual aspect made the work engaging.
"It's visually interesting but it's hard to read, but just the fact that you have to twirl it around makes it interactive," she said.
This interaction is what Basinski wants readers to acknowledge.
Basinski's work is widely known in underground poetry circles, but he does not get mainstream academic recognition. Yet, some students are familiar with his work.
"I've heard of him and I've seen his work. I think his art work is very dense. There's a lot going on in his pieces, but I don't agree with him not viewing it as art," said Lauren Shufran, a senior English major.
Basinski said his work "invites a hostile reaction."
"People see this and respond to it," he said.
When the poet performs his work, it is not an average poetry reading. He uses sounds and images along with the words to bring the audience into his imagination.
"What a poet says in performance may not be of interest so (the) writer needs to create an ambiance for the audience," he said.
Basinski's use of multimedia creates an atmosphere for the audience and allows it to interact with the poem instead of merely listening to what is given. He performs with an intermedia ensemble called The Ebma, which has released two LPs, Enjambment and SEA.
Basinski has published numerous books, including Idyll, Heebie-jeebies, and SleVep.
He has also been published in numerous anthologies, articles and reviews. For a glimpse at Basinski's poetry visit the electronic poetry center at http://epc.buffalo.edu.
